English National Ballet - Manon - National Tour & London, 2018/9

[Bruce Wall]

3 hours ago, LinMM said:

Maybe a TV programme called "Have you ever been to see......( Manon...Mayerling...Song of the Earth..............................) 

Explaining the plots/ source themes of each ballet....interviewing dancers and what they feel about the roles....some coaching bits choreographers talking about piece( recordings etc)  and then show the ballet!! This would be linked to Ballet Company's seasons of course!! 

Then any theatres showing the ballet that season offer  a substantial reduction in price to the first 1,000 people of the general public who book for it.

Well it is Sunday.......

 

I have a feeling LinMM that today this kind of programme would be 'Have you ever been to see ... '  with works like Woolf Works, Broken Wings, Jane Eyre or Streetcar Named Desire being featured.  In a way I would understand.  With the limited resources given to arts exposure on the national broadcast outlet they should perhaps focus on the current ... so when it is old people will still be able to access such footage..

 

I think though a programme with balletic heroes on Sky ... a 'Discovering series say' .... would not go amiss.  I'm very much enjoying the operatic heroes series just at present.  

 

Edited October 21, 2018 by Bruce Wall

[LinMM]

Would be happy for works across Companies etc not just Royal!! 

 

Of course this is would be with having the luxury of having a series 1, series 2 , 3, 4, 5.......!! 

So Cloud Cuckoo Land really!! 

But the ideal time to show it would be just post Strictly early in the New Year so the general public might still be a bit keyed into Dance still

Think will be in trouble soon for taking this a bit too much off thread!!

 

Edited October 21, 2018 by LinMM

[Fonty]

Well, I think it is relevant in that ENB seem to be having trouble selling tickets.  This is even though some of the theatres are within a day trip of the ROH in London, where we know there are large numbers of faithful fans who are in the process of being squeezed out because they go and see too many performances.....😉

[Don Q Fan]

I think the slight issue with Manon is that it is not really a ballet you would take children to so there was not one school group that I could see at Thursday's matinee in Manchester.  Had it been Swan Lake, Cinderella or Sleeping Beauty etc   it would have been a different scenario altogether. 

Of all the ballets I have seen Mayerling and Manon are the 2 that I would say are unsuitable for children. 

 

[JohnS]

3 minutes ago, Don Q Fan said:

Of all the ballets I have seen Mayerling and Manon are the 2 that I would say are unsuitable for children. 

 

There was a Schools Matinee Mayerling yesterday - would be interested to hear if there was any feedback (but on the Mayerling thread).

[alison]

I'm not sure that many - if any - of our readers have access to the ROH schools' matinees, John.

 

My problem is that all the southern ENB matinees clash either with BRB performances at Sadler's Wells I might want to go and see, or Mayerlings which I'd already booked before I realised there was a clash - and I don't think I want to drop any of those.  Even if I can fit them in, which is debatable, there's the high cost of the rail fares ...  Last time they performed it, I went to see it I think in Bristol and Oxford, which weren't so expensive to get to, but they're not on the schedule this time around.

[LinMM]

That's a good point Don Q ...about the schools not being so involved etc because not so suitable for children .....though I think most schools tickets go to Secondary Schools and I think certainly thirteens and above could be okay may be even interested in this story

[jmhopton]

When I was at Manon last week I overheard a lady in the auditorium in the second interval bemoaning the fact she hadn't brought her 7 year old niece! Even allowing she hadn't see the graphic sexuality in the last act I was still surprised she thought the ballet suitable for a 7 year old!

[Don Q Fan]

Definitely not suitable for a 7 year old. Teenagers yes but not under say 12. 

[Don Q Fan]

On 21/10/2018 at 18:12, JohnS said:

 

There was a Schools Matinee Mayerling yesterday - would be interested to hear if there was any feedback (but on the Mayerling thread).

Yes I saw a tweet about it and raised my eyebrow and that! 

[Lizbie1]

 

18 minutes ago, Don Q Fan said:

Yes I saw a tweet about it and raised my eyebrow and that! 

 

I'm pretty sure others from my school (though not I) went to see Mayerling at a Schools Matinee in what was either the late eighties or early nineties, as I can remember reading with envy the special programme that was printed for it. Manon too. I believe they are aimed at older schoolchildren, 13+ or so.

[Blossom]

On 21/10/2018 at 12:24, Fonty said:

Sounds like a good idea.

 

This is not a personal criticism of Darcey herself, so I hope people will not be offended if I say that I am a little disappointed that she hasn't done more to promote ballet to the wider public.

 

I know she has done programmes such as her own personal heroes, but something along the lines you suggest, Lin, might do wonders to bring a new audience to the art form I love so much.

 

Surely it should be our new British talent on our screens and in our newspapers/mags now- Hayward and Naghdi. 

 

Documentary series like Agony &Ecstasy is prob what ballet PR actually needs. Reality tv is all the rage and fly on the wall documentaries are still popular.

 

We should really start a thread of its own to come up with ideas to solve the issue of diminishing audiences. Collectively we must have some good ideas (so many already). 

 

On 21/10/2018 at 20:53, jmhopton said:

When I was at Manon last week I overheard a lady in the auditorium in the second interval bemoaning the fact she hadn't brought her 7 year old niece! Even allowing she hadn't see the graphic sexuality in the last act I was still surprised she thought the ballet suitable for a 7 year old!

 

I would love to take my 11 year old but feel she is still too young for this. I think there should be age limitations for Manon and even more so for Mayerling. 

[northstar]

It's been great to hear about the Manchester Manon performances.

 

Just wanted to share that I'm still feeling the effects from my first Manon last week in Manchester, I really didn't expect it to be such a revelation. Especially since I had seen MacMillian's Romeo and Juliet (also for the first time a couple of years ago), which didn't have anything like the same impact on me. Although Cojocaru and Caley were so exceptional in the performance I saw, I think it was not only their fabulous performances which made that impact, but something fundamental in the ballet itself. I never thought I could love a neoclassical romance-ballet (even seeing Cojocaru in Nureyev's R&J a couple of years ago couldn't convince me otherwise). I've even had a few doubtful thoughts about how going back to Swan Lake etc will seem after this. So wonderful to be able to experience this new discovery; so often when I go to the ballet I feel I'm trying to recreate that first time I went and was blown away. Sometimes I think that gets harder as I get more familiar with the ballets but if anything came close Manon certainly did.

 

On the issue of audience attendance, my impression wasn't too bad, especially since I read that the last time it came to Manchester (with ENB directed by Eagling) it really bombed and the planned performances in Liverpool were cancelled. Not that I don't share everyone's concerns though. So often when I book ballet tickets very late and find loads left, I am both pleased at the convenience, and deeply worried at what this will mean for the future of touring ballet in the UK.  

Edited October 22, 2018 by northstar

[Stevie]

On 21/10/2018 at 09:55, annamk said:

Did anyone see the matinee performance yesterday and the debut of Aitor Arrieta as Des Grieux ? 

Yes, I came down by train from Carlisle to catch the matinee. Together with rail strikes on the day and overcrowding with football supporters, I thank the company for otherwise making it a great day out for me. With the 12 deep crowd the full length of the platform, to catch the last train, I was in grave doubt of getting home. You will see from my note that I squeezed in.

    The score certainly suited the Orchestra, because this was amongst the best playing I have ever heard from them.

I had looked closely at the Corps de Ballet and in this production there is a degree of randomness and acting required by them in many scenes. However in the sections were they were required to be synchronised, I noted that there was precision and coordination verging on digital measurement.

    The principles all gave faultless performances and bathed in their moments of success.

    I had not seen Begona Cao in a principle role before, just in minor roles such as Giselle. I do however recall noting her posture and stage presence without seeing much choreography with which to demonstrate her dancing skill, so I did not know what to expect. I had hoped to see Alina, but learned a lesson in avoiding favouritism. I would not have wished to have missed this performance for the world. Begona somehow manages to harness and convert enormous amounts of power and energy into the most subtle, graceful and controlled balletic movement and she was a revelation. There were noted moments in which she interacted with the audience and absorbed them into the plot, making something which is so difficult look so easy, Tamara, Marianela, Sarah, Aurelie and others, eat you hearts out, this is the new height where the bar is set. If this is indeed based on a story about Manon Lescaut, then we were left in no doubt by Begona, that this was a Ballet Production about her. Star quality indeed.

 

[alison]

Based on their previous run, Cao was one of my favourite Manons.

[ninamargaret]

while it's quite pleasant, if you arrive early, to be able to sit and have a coffee instead of the PH bar, it's got about as much character as an M and S cafe,  but without the more reasonable prices! I had a feeling this would happen, you've only got to see the National Theatre and Festival Hall to see what happens when big business gets involved!

[Jan McNulty]

3 hours ago, ninamargaret said:

while it's quite pleasant, if you arrive early, to be able to sit and have a coffee instead of the PH bar, it's got about as much character as an M and S cafe,  but without the more reasonable prices! I had a feeling this would happen, you've only got to see the National Theatre and Festival Hall to see what happens when big business gets involved!

 

Is this post supposed to be in the ENB Manon thread?

[alison]

Just wondering: how many Manons is ENB fielding?  Cojocaru, Takahashi, Cao, Dronina, Hawes, McWhinney, ...?  How many London performances are there?

[JohnS]

Such a shame to read Louise Levene's Spectator review in today's links - Alina Cojocaru's fabulous Manon but so many spare seats.  

 

"Alina Cojocaru ... is complete mistress of the role and lets us see every stage on the road to perdition."

 

 

 

[squadron]

Thank you for the numerous reviews of Manon and its varied casts! But it's a pity to see so many saying that the tickets aren't really selling well when I'd imagined otherwise.

When ENB brought Le Corsaire on tour to Singapore in 2015, the theatre over here was packed to the rafters, and there were well-deserved standing ovations (though I'm no fan of the plot and stereotypes). On the other hand, I feel as if what some have said about difficulty filling theatres could apply to our local company/ies. Perhaps it's a case of a prophet in his own town.   In the meantime, ENB's more than welcome to bring Manon over here!

 

(On a side note, after reading all the comments above about Alina Cojocaru, I wish I'd seen her dance 'live' - sadly for her, she couldn't perform in 2015 due to personal reasons though I'd had a ticket to her performance. Perhaps some day....! As it was, feel fortunate to have watched Tamara Rojo stepping in, and Isaac Hernandez, Cesar Corrales, Laurretta Summerscales, etc.)

[Sophoife]

On 23/10/2018 at 06:34, Don Q Fan said:

Definitely not suitable for a 7 year old. Teenagers yes but not under say 12. 

 

On 23/10/2018 at 07:16, Blossom said:

 

I would love to take my 11 year old but feel she is still too young for this. I think there should be age limitations for Manon and even more so for Mayerling. 

 

My first Manon was Merle Park in July 1974 when I was eight years old, our last ROH hurrah before returning to Australia after five years in England.

 

My memories (which had to last me until 1994 when Australian Ballet did it for the first time) were largely sad ones. As a child obviously I didn't understand the undercurrents, and back then the Gaoler had a Mistress (she was well jel of Manon), but my overall impression was what a sad story it was. Those poor girls with their sad music falling down all over the place. The pretty happy girl who died in the end. The funny but nasty boy who bleeded when he died! Imagine my mental revisions seeing it again at 28!

 

What I'm trying to say is, from my own experience, without having had too much explained to me, I wasn't adversely affected by seeing it. I think age-related attendance should be individually assessed by the adult wishing to take a child. I was fine at eight, some children might be not fine at 14.

 

In retrospect I certainly saw some fine dancers that I now recognise how lucky I am to have seen: Nureyev on début as des Grieux, Desmond Kelly and Lesley Collier as Lescaut and his Mistress, Derek Rencher as GM, David Drew and Georgina Parkinson as the Gaoler and his Mistress, Gerd Larsen as Madame, Wayne Sleep as the beggar chief, with Derek Deane as a Townsperson, Wendy Ellis as a Harlot, and David Ashmole and Wayne Eagling as Gentlemen.

[ninamargaret]

On 23/10/2018 at 22:29, ninamargaret said:

while it's quite pleasant, if you arrive early, to be able to sit and have a coffee instead of the PH bar, it's got about as much character as an M and S cafe,  but without the more reasonable prices! I had a feeling this would happen, you've only got to see the National Theatre and Festival Hall to see what happens when big business gets involved!

 

 

On 24/10/2018 at 01:53, Jan McNulty said:

Is this post supposed to be in the ENB Manon thread?

No, and I've no idea how to get it there! No matter, just me being grouchy!!

[ninamargaret]

1 hour ago, Sophoife said:

What I'm trying to say is, from my own experience, without having had too much explained to me, I wasn't adversely affected by seeing it. I think age-related attendance should be individually assessed by the adult wishing to take a child. I was fine at eight, some children might be not fine at 14.

Agree totally. by the time I was 12 I had seen several Shakespeare plays and quite a bit of ballet,admittedly mostly ballets more child friendly, which they were when Festival Ballet and Sadlers Wells toured. Better to leave it to those bringing children to decide what the child can cope with. I've seen young children at Mayerling, also quite frequently at operas like Turandot and Otello.

[Timmie]

We enjoyed our Milton Keynes Manon matinee yesterday. Erina Takahashi very convincing as Manon and super dancing and partnering by Jeffrey Cirio (Des Grieux) and Goirgio Garrett (Lescaut). Goirgio Garrett danced Lescaut’s drunk scene for comedic effect and got laughs and applause. Erina Takahashi made me somewhat emotional in the final scene so I felt I got my money’s worth 😢😂. Also a mention to Rina Kanehara (a favourite of ours after La Sylphide last year) who danced the role of Lescaut’s Mistress with great fun.

There were several young children in the theatre but the gaoler scene was not as graphic as I have seen before so they probably didn’t really get what was going on…

I think I prefer this Manon to the RB version. I really like a ballet with tutus and the courtesan outfits in the Act 2 scene were nearly there and very colourful. I also very much liked the brightly lit high contrast monochromatic opening to Act 3.

Lots of smoke at the end! I felt a bit sorry for the orchestra with all the smoke rolling into the orchestra pit. Loved the orchestra performance with Gavin Sutherland conducting.

Also lots of Ballet Theatre students in the audience which was nice.

[Minder]

The MK matinee cast did the friends rehearsal the day before and it looked very good even without full costumes, not that I'm taken much with the ice cream colours for the courtesans. It was interesting that Dima Gruzdyev has come back to coach and perform Monsieur GM - wish I'd seen the performance. The orchestra is really good and in my view better than the Royal's most of the time but the pit at Milton Keynes is so deep and large nobody sees poor Gavin.

 

On Wednesday evening there was a respectable audience number although not many in the top level. I thought Jurgita Dronina was a very classy Manon and worthy of first night billing. Also Ken Saruhashi was an energetic Lescaut.

 

I think part of the problem filling theatres is the extra transaction charges that are added to online bookings which for the modest ENB ticket charges on tour seem prohibitive. They dont charge them if you go to the theatre and book in person with a card so why upset the audience from further away you should be encouraging? We might not like ROH prices but at least there is one price for everyone like a shop.

[Timmie]

Even with the fees I very much like the Milton Keynes Theatre prices . For two of us we got our tickets followed by a nice meal in the Chinese restaurant next door for about what I would pay for one front row amphi seat at ROH. And the view from the upper circle at MK is better than the ROH ampthi...

[Odyssey]

Thank you for all the reviews so far  - you have really whetted my appetite for this production as I have only seen the Royal Ballet's. And to see Alina in the  role of Manon is truly the icing on the cake. I'm hoping the audience for the Saturday matinee performance will be a healthy one.  

[alison]

1 hour ago, Timmie said:

Even with the fees I very much like the Milton Keynes Theatre prices . For two of us we got our tickets followed by a nice meal in the Chinese restaurant next door for about what I would pay for one front row amphi seat at ROH. And the view from the upper circle at MK is better than the ROH ampthi...

 

Well, I don't like the fact that the bottom price for Saturday's matinee seems to be £24 rather than the £12 or £18 available on other days (the upper circle is closed, by the looks of things).  It might have put me off had I still been able to go.  I suspect that if you asked at the box office some cheaper seats would still be available, though.

[Timmie]

Yesterday's matinee, and I think opening night, were the only shows where the Upper Circle was open at MK. So they would have had the sub £20 tickets.

[Pulcinella]

Well I’m going tomorrow afternoon so have just checked the ticket levels (I do already have a ticket) The stalls is fairly well sold but there are still lots of seats in the circle and the upper circle seems to have been taken off sale as it is showing no seats available. Really looking forward to seeing Cojocaru and Caley, I just hope my trains run to time.

[alison]

Do let me know how it goes, Pulcinella.  I'm gutted to have to miss it, but have other priorities right at the moment.

[Minder]

This afternoon I think quite a lot of people like me just turned up and bought tickets so the audience number was not bad at all. There is nobody who can touch Alina for the subtle nuances of acting that make the performance so enjoyable. In Des Grieux's first solo she doesnt just sit there with her handbag like most other Manons but waits to sit and then gets up again to make better eye contact. Joseph Caley was also excellent in both dancing and partnering. We all went out into the cold and rain happy.

[annamk]

25 minutes ago, Minder said:

There is nobody who can touch Alina for the subtle nuances of acting 

 

It’s so true Minder. 

 

I made the trip to MK and on a cold, wet afternoon the theatre was just the place to be. Alina Cojocaru’s performance was as good, if not better, than the very finest I remember her giving in her years at the RB. It’s not only her acting which sets her apart from other interpreters of the role but something in her quality of movement - feather light and so quick - which constantly leaves you catching your breath. 

 

I find Caley a much more sympathetic partner for her than others at ENB. As Des Grieux he certainly looks the part; he danced and acted with complete comittment and partnered with care and total passion. 

 

Cirio, Khaniukova and Streeter also gave strong performances.

 

It’s hard to pinpoint what it was but in almost every scene from the very first one I felt a strong sense of the impending tragedy simmering just beneath the surface in a way that I’ve never noticed at the RB. 

 

The orchestra were terrific.